Santana
Santana III

THE REVIEW

Santana is a unique character: at 22 he was one of the heroes of Woodstock, thanks to his Latin roots he revolutionized Rock by incorporating rhythms and sounds that were nearly unknown in this world into his music. He has collaborated with a good portion of the most influential musicians in the Rock and non-Rock scene of the last 40 years, and as if that weren't enough, he also became a pop icon thanks to the multi-award-winning "Supernatural," celebrating its tenth anniversary this year.

"Santana III" is the third important piece of a discography inaugurated with the previous "Santana" and "Abraxas," which the following year would also include "Caravanserai"; certainly a career starting with a bang. Santana's formula is always the same enticing mix: Rock, Blues, Salsa and various Latin touches, Psychedelia, strokes of Jazz, and a Jam bed to lay it all on. It is no coincidence that certain Santana sounds are also found in the early Allman Brothers Band, given that the legendary Bill Graham was a supporter of these sounds and a friend of both the Mexican-origin guitarist and the Allman brothers. A captivating rhythm opens a solid Latin Rock called "Batuka," where the great Michael Shrieve - already a Woodstock hero in "Soul Sacrifice" - takes the lead behind the kit with the rhythmic tribe of percussionists, joined sensuously by bass, organ, and Carlos in all of his acid-colored sound. "No One to Depend On" arrives warm and nocturnal on the trail of "Batuka." These are moments where Santana's sound blend enriches with his proverbial sung parts that strongly remind one of South American soneri. "Taboo" is an acid and epic delight, with its warm and majestic opening giving way shortly after to psychedelic whispers where Gregg Rolie's voice makes it even more enchanting. I don't know, but this song always makes me think of a night in Tijuana... Don't ask me why, they're impressions, and besides, I've never been to Tijuana!

"Toussaint L'Overture" is a full-fledged Salsa, where each instrument manages to express artistic freedom following the typical Salsa rhythm, so Carlos goes all out and Rolie's organ hits come down like rain. "Everybody's Everything" is an R&B delight brought to the Caribbean, with horns riding this R&B, a very intriguing result. An arrangement sensitivity that only a hybrid like Santana could make so striking. "Guajira" is a magical Mambo-flavored piece, dreamy and delicate, where Santana's guitar and Mario Ochoa's Latin and Jazz-flavored piano create very... very Latin moments indeed! The mysterious "Jungle Strut" has Santana’s stamp burned deeply into it from the first notes, rides you can't resist, also thanks to a Shrieve in great form. "Everything's Coming Our Way" strongly recalls the West Coast Rock, and Santana had to pass through those territories, being part of the west crowd in one way or another.

The finale is granted to a wild version of "Para Los Rumberos" by Maestro Puente, a version that turns out much more engaging than the original in my opinion, a truly explosive finale as only the music of an old lion like Carlitos can be!